The Departed
3.5/4
Starring: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Martin Sheen, Vera Farmiga, Mark Wahlberg, Alec Baldwin, Ray Winstone
Rated R for Strong Brutal Violence, Pervasive Language, Some Strong Sexual Content and Drug Material
Without a doubt, Martin Scorcese is one of cinema's brightest and most enduring stars. Few filmmakers have had such a profound impact on cinema. The number of classic films he has created is astounding. From "Taxi Driver" to "Goodfellas" and more, Scorcese has made one brilliant movie after another.
"The Departed" is Scorcese's second remake (he remade "Cape Fear" after his good friend Steven Spielberg turned it down and offered it to him, telling him that directing a hit would give him more clout in Hollywood). The film is based on a Hong Kong b-movie called "Internal Affairs." I haven't seen it, but apparently it is miles different from its inspiration. Regardless, this is still an amazing movie.
The film has a dynamite premise that makes it both a crime epic that Scorcese is famous for, and a gripping psychological thriller. Two undercover operatives on both sides of the law try to find each other. How cool is that? Of course, with a Scorcese movie, it's not that simple. Scorcese embellishes the story to create a huge epic with depth and feeling. This is a richly textured film that enhances the story with its multi-layered plot.
The two moles are Colin Sullivan (Damon) and William Costigan (DiCaprio). Colin has been working for local mob boss Frank Costello (Nicholson) almost his entire life. To keep tabs on what the Massachussetts State Police is doing, specifically Captain Queenan (Sheen) and his foul-mouthed attack dog Dignam (Wahlberg), Frank has Colin join the Staties and become a detective in the newly formed Special Investigations unit headed by a man named Ellerby (Baldwin). Billy Costigan is a smart kid from a bad past that wants to give back to his community. Queenan has him become a mole inside Costello's crew. The only ones who know who he really is are Queenan and Dignam. Both rise up the ranks fairly quickly, and that's when Costello and Queenan begin to realize that they have moles in their units. As Queenan tries to take down Costello, Colin and Billy try to smoke each other out.
Like I said, there are many layers to the story. It's one of Scorcese's many personal touches. There's always a main story, but there are dozens of other things going on.
As is usual for a Scorcese movie, the acting is outstanding. Leading the pack is Matt Damon. Damon has always been a good actor, but he has never been better than here as the malevolent Colin Sullivan. He's bad, but is capable of caring about his girlfriend Madolyn (Farmiga). Leonardo DiCaprio isn't as strong as Damon, although he does an excellent job as the increasingly trapped Billy. He's constantly in danger and forced to do horrible things, which pushes him to the brink of a breakdown, as he complains to his therapist, Madolyn. Jack Nicholson is also in top form as the vicious and increasingly paranoid Frank Costello (based in part on the then at large James "Whitey" Bulger). Martin Sheen replaced Scorcese-favorite Robert DeNiro (who was working on his film, "The Good Shepard," also starring Matt Damon) as Queenan, but he makes the role his own; Sheen is very fatherly towards Billy, but suspicious of Colin. Mark Wahlberg (taking over from Ray Liotta, who had to turn it down) scored his first Oscar nomination for this role, and I don't understand why. He's good but a little over-the-top nasty as Dignam. Alec Baldwin, Ray Winstone, the always wonderful Vera Farmiga and, in small roles Anthony Anderson (taking over from RZA) and James Badge Dale, are excellent in supporting roles.
One thing Scorcese does is utilize editing for suspense. While it's true that editing plays a huge part in thrillers, here Scorcese and his longtime editor (and personal friend) Thelma Schoonmaker use many traditional techniques, such as flashbacks, quick cuts and rhythm, but they also use sound editing for maximum effect. For example, there are times when a song goes on over some montages, but it stops abruptly as a person starts talking or enters the room. The abruptness is a little shocking, and that's what Scorcese wants: to keep us on our toes. And never has the ringing of a cell phone been so intense (unless it comes from a foolish audience member...).
The film takes a while to get going. This is the roughest part of the movie because we are so overloaded with information that it's hard to take it all in at once. Writing by William Monahan doesn't exactly help matters here, although it's strong overall.
Twisted, brutal and intense, "The Departed" was the most commercially successful film of Scorcese's career (garnering $289.8 million against a budget of $90 million), but it is not the best film Scorcese has ever made ("Taxi Driver" takes that honor), nor was it the best film of that year (in my opinion, "Blood Diamond" was the stronger film). Still, this is an outstanding thriller (and the one that, finally, earned Scorcese his long overdue Best Director Oscar).
Starring: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Martin Sheen, Vera Farmiga, Mark Wahlberg, Alec Baldwin, Ray Winstone
Rated R for Strong Brutal Violence, Pervasive Language, Some Strong Sexual Content and Drug Material
Without a doubt, Martin Scorcese is one of cinema's brightest and most enduring stars. Few filmmakers have had such a profound impact on cinema. The number of classic films he has created is astounding. From "Taxi Driver" to "Goodfellas" and more, Scorcese has made one brilliant movie after another.
"The Departed" is Scorcese's second remake (he remade "Cape Fear" after his good friend Steven Spielberg turned it down and offered it to him, telling him that directing a hit would give him more clout in Hollywood). The film is based on a Hong Kong b-movie called "Internal Affairs." I haven't seen it, but apparently it is miles different from its inspiration. Regardless, this is still an amazing movie.
The film has a dynamite premise that makes it both a crime epic that Scorcese is famous for, and a gripping psychological thriller. Two undercover operatives on both sides of the law try to find each other. How cool is that? Of course, with a Scorcese movie, it's not that simple. Scorcese embellishes the story to create a huge epic with depth and feeling. This is a richly textured film that enhances the story with its multi-layered plot.
The two moles are Colin Sullivan (Damon) and William Costigan (DiCaprio). Colin has been working for local mob boss Frank Costello (Nicholson) almost his entire life. To keep tabs on what the Massachussetts State Police is doing, specifically Captain Queenan (Sheen) and his foul-mouthed attack dog Dignam (Wahlberg), Frank has Colin join the Staties and become a detective in the newly formed Special Investigations unit headed by a man named Ellerby (Baldwin). Billy Costigan is a smart kid from a bad past that wants to give back to his community. Queenan has him become a mole inside Costello's crew. The only ones who know who he really is are Queenan and Dignam. Both rise up the ranks fairly quickly, and that's when Costello and Queenan begin to realize that they have moles in their units. As Queenan tries to take down Costello, Colin and Billy try to smoke each other out.
Like I said, there are many layers to the story. It's one of Scorcese's many personal touches. There's always a main story, but there are dozens of other things going on.
As is usual for a Scorcese movie, the acting is outstanding. Leading the pack is Matt Damon. Damon has always been a good actor, but he has never been better than here as the malevolent Colin Sullivan. He's bad, but is capable of caring about his girlfriend Madolyn (Farmiga). Leonardo DiCaprio isn't as strong as Damon, although he does an excellent job as the increasingly trapped Billy. He's constantly in danger and forced to do horrible things, which pushes him to the brink of a breakdown, as he complains to his therapist, Madolyn. Jack Nicholson is also in top form as the vicious and increasingly paranoid Frank Costello (based in part on the then at large James "Whitey" Bulger). Martin Sheen replaced Scorcese-favorite Robert DeNiro (who was working on his film, "The Good Shepard," also starring Matt Damon) as Queenan, but he makes the role his own; Sheen is very fatherly towards Billy, but suspicious of Colin. Mark Wahlberg (taking over from Ray Liotta, who had to turn it down) scored his first Oscar nomination for this role, and I don't understand why. He's good but a little over-the-top nasty as Dignam. Alec Baldwin, Ray Winstone, the always wonderful Vera Farmiga and, in small roles Anthony Anderson (taking over from RZA) and James Badge Dale, are excellent in supporting roles.
One thing Scorcese does is utilize editing for suspense. While it's true that editing plays a huge part in thrillers, here Scorcese and his longtime editor (and personal friend) Thelma Schoonmaker use many traditional techniques, such as flashbacks, quick cuts and rhythm, but they also use sound editing for maximum effect. For example, there are times when a song goes on over some montages, but it stops abruptly as a person starts talking or enters the room. The abruptness is a little shocking, and that's what Scorcese wants: to keep us on our toes. And never has the ringing of a cell phone been so intense (unless it comes from a foolish audience member...).
The film takes a while to get going. This is the roughest part of the movie because we are so overloaded with information that it's hard to take it all in at once. Writing by William Monahan doesn't exactly help matters here, although it's strong overall.
Twisted, brutal and intense, "The Departed" was the most commercially successful film of Scorcese's career (garnering $289.8 million against a budget of $90 million), but it is not the best film Scorcese has ever made ("Taxi Driver" takes that honor), nor was it the best film of that year (in my opinion, "Blood Diamond" was the stronger film). Still, this is an outstanding thriller (and the one that, finally, earned Scorcese his long overdue Best Director Oscar).
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